Ep.7 Art & Nature - Brenton See

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You're on the plants grow here podcast. I'm Daniel Fuller. Come along with me as we enter a hidden world of deep horticultural, ecological and landscape gardening knowledge with featured experts, industry professionals, and enthusiasts. Today's episode is on the connection between art and nature. And our guest is Brenton See he's an artist from Perth that creates incredible murals of native Western Australian flora and fauna. And he's become so successful that he's now paid to travel around Western Australia creating murals. Welcome to the show, Brenton.
Hey, Dan. Nice to be here. Yeah, good, mate.
How about yourself? Yeah, I'm good. I'm,
uh, I'm covered in paint at the moment just raced here from a job I'm currently working on. But uh,
that's how it is. That's how it is. Yeah, that's good, isn't it? So let's talk a little bit about some of your work. What is it about this sort of natural native iconography that helps you express what it is that you're trying to say, as an artist.
So for me, I guess I've always painted animals, not necessarily local animals. But from a young age, I guess I related more to the environment and nature over people, I never really connected with people and often prefer to be alone. So it's been quite a bit of time, just down the road at our local park in the bush or in the garden, or I've bred birds when I was young. So I would spend a lot of time sitting in the Avery with the birds. So yeah, I guess throughout my life, I've often enjoyed being away from people and in nature. And then later in life, I kind of realized it was very important to incorporate this into some form of work if I could. So yeah, it's been with me since I, since a child. But more in the last couple of years, I've lucky enough with my work, I've been able to really push my major interests, which is obviously local flora and fauna. So took a while to get to that stage, obviously, I had to build up a clientele and a name for myself. And the longer you do that, the more freedom, I guess, you've got to push exactly what you want to do. And I'm lucky that I can do that now. And I've
sort of get a feeling that maybe some of your work expresses all kinds of different emotion, like maybe some of the sunnier ones have a totally different feel to maybe some of the more aquatic ones, you know, like the whales and stuff like that, does emotion play into the work that you do?
It used to some of my earlier works. A lot of people know this via some of the info I've had on my website for a little while, I suffered with depression for quite a while. And a lot of my work that I was doing really reflected how I was feeling. So some of my earlier works, especially the titles associated to them really came through and represented exactly how I was feeling at the time. So yeah, there was a lot of darker work before that it's funny, as I got better, you know, a lot of more color came into my work. And eventually, when, you know, all the all the issues I was having completely went, I could solely focus on what made me happy. And that, I guess, is painting local wildlife. And I didn't really have to worry about telling a story about how I was feeling I guess. So, you know, even though my work now is a little bit is a little bit different. And the reasons why I'm doing it is different. It's really good to have a lot of those older murals on the streets. Because it's it's almost like a life, you know, life history of what I was going through, you know, on a wall, which is pretty cool.
Yeah, that's cool. So it's like a it's totally like a documentation of Exactly, yeah, your story as an artist, you know, I
don't delete any of my old works of social media. So if anyone goes back onto my Instagram or Facebook, they can see my progress as an artist, but also, you know, how my style has changed and what was going on at the time, I, I've never really deleted a poster, you know, people can go back seven, eight years ago, and they can really see from my dark times and work I was producing. So I think you know that that's a good thing about social media, people can really see the history of an artist from from the start to where they are now.
Yeah, that's really cool. You know, I think it that's really great that you don't just take it down, even if you've progressed because um, yeah, I think that's really valuable to be able to chart your journey like that.
Yeah, yeah. And I think you know, these days, it's quite common to see an artists profile on, let's say, Instagram, and they won't be too many photos on there because it's sometimes it's common knowledge to increase your follower count. It's about having a little amount of content but really good content. And so that it works with the, with the algorithms. So it's really strange. But you know, I've never, I've never been one to really care about all that sort of stuff. I just want to have all my work out there. I don't, you know, I don't pick and choose, I try and put everything I've done out there. Because the way I feel about it is, you know, if I don't post something that might be someone that misses out on looking at that, and that might be a job gone. So, you know, for me, I rather post everything and not really care about what impact it's going to have. I just want to get it out there.
Yeah, and you never know what someone's gonna resonate with.
Yeah, exactly.
So what were your interactions with wildlife? Like as a child and teenager? Do you feel a connection to nature?
I do. Yeah, for sure. So I guess my earliest memory is going down south to quindell up with my mum grew up in her families, and going into my past grandmother, she had a Avery full of full of budgies. And I would just sit in there for hours and hours. And just and just watch him. She lived on a farm. And you know, if I wasn't in the Avery, I was walking around the acres and acres on the paddock. So I guess that's probably my earliest memory of walking around in the bush. After that, probably going through primary school. I really got into breeding Australian finches and then parrots. So again, around the same sort of thing as the Avery I guess I got the inspiration from my grandma, but really got involved with that, and learning, buying every book I caught on on these birds and learning a lot from that. And then going into high school, I guess my attitude changed a little bit. And I started looking more in, you know, into our gardens and what there is around us and, you know, my opinions on caging something sort of changed as well. So, you know, nowadays I, you know, I kind of disagree with with caging things. So it's funny how things changes. But um, yeah, so through high school, I actually volunteered at the foreigner rehabilitation center in Malaga, which is now native animal rescue. So, yeah, so a few years there, I was caring for sick and injured native wildlife. Yeah, I guess that really started my interest in our native
wildlife. And so that's where it all started. It's just been a long journey.
Yeah, yeah. I mean, everything has sort of brought me to this point, you know, and, and along the way, I was always drawing whatever I was involved in. So all the birds I was breeding it was, you know, I was using the identity and identification guides, and I was redrawing what I had in my own ovary. So, you know, it was always animals that I was painting.
But I noticed that you've got a lot of plants in your work as well. And yeah, one thing I wanted to talk to you about was, you do some native flowers, especially like Banksy is and there's a couple other ones, and you just sort of you've reduced them down to geometric shapes. And I think they're so cool, because they're still so recognizable. How did you come up with that idea? Can you tell me a little bit about that.
So
the geometric flora that began from I guess, studying graphic design. So after high school, I went and studied graphic design. And the love for graphic design, sort of came from my also my pastime of skateboarding. So along with all the nature stuff, and skateboarding took up a lot of my life, but I was really drawn to the skateboard graphics, and the T shirts and the brands associated with it. And a lot of the time, they are very simple, in that there's a lot of simple forms, I guess, you know, skateboard graphics, you're not always seeing the bottom of it. But when you do, you kind of want to look at it really quickly. And you can sort of tell what it is. So I was always really drawn to the graphic form and being able to sort of see something quickly and know exactly what it is without having to stare at it for too long. So yeah, I kind of brought a lot of the graphic elements into my work, it started with a lot of shapes and squares, one of those things I sort of still used today. And then yeah, then it went on to breaking down a lot of our local flora into a simplistic form. I did that for a little while. And then awkwardly, you know, I don't really talk about it too much. But another artist who was doing a lot of geometric forms, actually contacted me and sort of said, you know, I've been watching your work for a little while now. And I realized that, you know, you're doing a lot of these geometric forms, and, and it's kind of looking a little bit like my work, and I sort of blew me away, you know, and because I never, I actually never really looked at other artists work for inspiration law is it all comes from being outside, you know, that threw me under the bus a little bit. You know, it could have set me back a little bit and I had to do a bit of soul searching, but, you know, I kind of reevaluated and thought, Well, you know, I could still I could still do a lot of the geometric things that I love, you know, and if this if this is an issue, at the end of the day, I'm just happy to paint flora and fauna, you know, it doesn't. It's not a big thing for me if I can't do it in a in a certain way. I mean, obviously I love to doing that. gms tricky stuff. But, you know, it's always a monkey on my back, I don't want to, I don't want to have issues with anyone or anything like that. And it's been, it's been a bit of a blessing because, you know, I've really been able to sort of play with what I'm doing now in different ways and incorporate a lot of different flora and forms and experiment with different scale and stuff. So it's really like luck with the rest of the rest of the things that I've done. It's really just a progression. And that was a stage that I went through. And it was was awesome. And it's unfortunate that I'm not doing it anymore. But, you know, I think it's also good to get the reason behind why I'm no longer doing it out there. And it is what it is, and that's fine with me. I'm happy. I'm happy doing what I'm doing.
Yeah, and I mean, the the realistic style of the flowers that you're doing now still look, keep school anyway. So
yeah, yeah. So with the way I paint, along with the the graphic design background, I also did an a tattoo apprenticeship for a little while. So I learned how to, to draw and paint in the way a lot of tattoos are created. So a lot of bold color, a lot of use of black and highlights. So it's funny, a lot of that really has come into my work without even really knowing it. And now, I get a lot of people telling me that my style is so recognizable. And it, you know, just goes to show that, you know, even without the geometric stuff that I'm doing, people still can see my work. So that that's really cool. Awesome. And so
you sort of spend a bit of time with as a tattoo artist and cut your teeth a little bit. Can you tell us a little bit more about that professional journey of yours?
Yeah,
so I guess I'll kind of start from after high school. So I went into study graphic design after high school because after all the years of skateboarding, I kind of thought, you know, what, what can I do? What line of work can I do? That will get me into working with my hands and creating something. So I thought if I studied graphic design, I might be able to get a job as a screen printer for t shirts or something like that. So, you know, that was my first thought. So studying for a few years, you know, I built my skills up on the computer. And then I, you know, I talked to a few other people that were studying that were in years above me, and everything that everyone that had left the course went into a job where they were just creating business cards and flyers all day, you know, and I didn't bring any, any fun bills for me. So I was like, Oh, you know, maybe maybe I need to get out before I even finished because I'm I would just be wasting wasting my time. So, you know, I left after I got a few certificates and and then I left and I thought well, alright, I don't really want to work for computers, what's what can I do that, you know, that there might be money in but I can work with my hands. And at that time, I think I got my first tattoo, I ended up talking to one of the terrorists there and you know, just discussing, I guess, like I am with you what I've been doing and, and he suggested, you know, making a portfolio and showing in trying to get an apprenticeship with that shop. So I kind of went back and you know, spent a little while drawing up a few designs, and I was quite lucky that you know, the kind of skateboard graphics look similar to sort of the things you would see as tattoos so I built a portfolio of of the kind of things that I was liking and it got me the apprenticeship there. So yeah, it was I was stoked to to go in there. It was unpaid. So I was having to work retail on the side, doing a lot of hours at the shop. And then when I wasn't there, I was working retail to basically pay for my parking and pay for lunch and stuff. So yeah, I did that for I think was about seven or eight months, I learned a lot about the industry, the good and the bad. And it was funny because, you know, I thought I'd get into this into this career. And I'd be able to, you know, have fun and do what I want on people's skin and really be quite free. But I kind of learned that it was more about the client telling you what they want. And even if you didn't enjoy doing or want to do it, you just you got to do it. So you know, that rubbed me the wrong way as well. So yeah, I ended up leaving, leaving that and then just went back into retail for a little while because it was what I was what I knew and it was easy and doing retail it doesn't really take much brain sales and I was able to still go home at the end of the day and and do what I love which was painting and drawing. So over time I guess I kept pursuing the painting and drawing and did it more and more and began to get my name out there and then I kind of dropped back on the retail continue to drop back and eventually was able to leave retail and then go full time, which was Canvas painting sales. I was painting canvases, painting on board and penny on furniture i was i was experiment experimenting with a whole lot of things and A lot of the time because I didn't have much money I was I was finding things that are shops to paint on. So I was painting on a lot of wooden furniture and things which I really enjoyed. And that I was able to sort of clean them up and paint on the on them sell them for a lot more than I bought them for. So at that stage, I was working from a studio in the city just outside of Northbridge in Perth, and I kind of told myself, alright, let's have a go at leaving my job in retail and sort of try to push this for a year. So I wanted to see whether I could do it for a year, sort of locked myself into a contract that I wrote myself, I guess. So I did that quit my job in retail and worked out of the studio for a year, paying the rent at the studio and then also paying rent a place I was staying at. And I got through the year, but I kind of broke even I didn't really make much money even though I was doing okay, off the art. So it was funny, you know, I was doing exactly what I love, but I didn't really have any money to show for it. I was a little bit scared in charging a lot of money because I didn't want people to be to be scared off and not buy my work. So I was charging a really, really decent price for what I was doing. And then I guess after, after doing that year, I started working from home, just to save money on rent. And around, you know, a little while later, the guest this brings me to around 2014 2015, a friend of mine was doing a mural in Mount Lawley and asked me to split the wall with another friend of ours. So there was the three of us on our on our wall, people can go and see it, it's behind fresh provisions in, in Mount loline in Perth, behind a car park there. And yeah, we split that wall up between us and I did a section and and that one was a whole lot of color shapes and, and a few animals. So at that time I was experimenting with of animals of scale. And then what they said to me, so I was planning a lot of whales and sharks and elephants. Because I think at that time, it really related to how I was feeling. So I was dealing with a lot of issues mentally and, and I kind of put myself in the position of one of these animals and thought, Well, if I was one of them, nothing could bother me. So I really enjoyed painting all these animals of scale and that we're allowed to walk the earth and swim in the oceans and not be bothered. So that allowed me to sort of release some of the things I needed to buy by painting them. So that first mural, that's what that's what was on that a group called form happened to be walking past at the time. So form is a group that do a lot of arts things around wha and at the time, they were doing a little mural festival and asked me if I wanted to be involved and kind of went straight on and painted another mural from from that and it really has not stopped since that. So yeah, pretty, pretty crazy journey.
Sounds like a crazy journey. And I think there'll be a lot of people listening who are thinking, Oh, geez, that sounds like it's gonna give me anxiety. Even just listening to the thought yeah, being out on your own. Yeah.
Yeah. Like, I
can't help but feel jumping out on your own.
It was really scary. But at the same time, because of the issues I was going through, I knew I knew that. It was the only thing that made me happy. So I basically had to do it. You know, there's nothing at all that I could see myself doing. And if I was to get myself out of the black hole that I was in, I had to be doing what I wanted and what made me happy. So you know, I just had to do it. I didn't really have a choice. You know, I had to I had to make a way to find it to to find it possible.
Yeah, well, and you've actually managed to make it work. So that's absolutely incredible.
Yeah, yeah, thanks.
Yeah. So do you recommend that everyone follows their dreams and depend on their own ability to make income? Or do you think that that's on a person by person basis, or the way I
kind of break it down now, and I mentor a few other artists that have started out and, you know, I think it's really important to help out people wherever you can. And the way I sort of look at life now is, I only want to do what makes me happy. And that's with everything that I do it especially with with with what I do as far as painting murals goes. So I would say to anyone, you know, if you've got some way you want to be in life that is going to bring you ultimate happiness, do whatever you can to eventually get there. You know, with art, especially, it's a long process, but only the people that stick with it, are the ones that are going to make it out the other end. So, you know, I would say, work part time in crappy jobs, doing whatever it takes to get some money beside and, you know, a lot of the work that I first did wasn't paid. You know, some of them were free. You know, some of them, they only paid for my materials, but it was important to me to practice and get my work out there. And, you know, I knew that the more I did, the more possibilities in getting paid work. So yeah, I think if you've got something that you want to do, make a way for it to come true, you know, but I think You know, a lot of the time it comes down to money. So if you're able to have some sort of income to put some money in your pocket, while pursuing what you want to do on the on the outside, that's, I would say, that's the way to do it. You know, if you're going to quit everything and go straight into into what you're doing, if you're not earning any money, then you can't, you can't do anything.
So that's right. Yeah. Be nice to be good, wouldn't it?
Yeah, exactly. Yeah, yeah. But yeah, I think, yeah, just find a crappy job that that pays, pays the bills and pays the rent. And then, you know, if you've got, that gives you free time. Yeah, if that gives you free time to do what makes you happy, then keep doing that. And then like, what I did, just keep doing it. And eventually, you can cut back, cut back, cut back, and then one day to, you know, you might be able to come out the other end and make a career out of it. But yeah, just keep pursuing it, you know, my process, you know, 15 years or something. So takes a while. Yeah,
takes a long time. And I've heard you talking about one of your early experiences that sort of really made it clear to you that this was your path, and you're talking about someone who noticed a bird in one of your artworks? Can you tell us a little bit about that story?
Yes. So a suburb about an hour away from from where I live in Perth, I was painting a mural on the side of a shopping center. And, you know, a lot of the time when I do commissioned murals, the client does have a few objects that they find necessary in the mirror. And sometimes these might be, you know, if I'm waiting, I'm working at a shopping center, there might be a lot of magpies that hang around. So they're there, they will tell me, let's include a magpie because they're there in the area. Sometimes I tried to include animals that are seen in the direct area, just so that people can recognize a couple of things. And then also, I try and include animals that aren't so seen, just before an educational sort of aspect to it. But yeah, I was I was painting this mural, and I painted a bird that, you know, I was very familiar with, I understand that a lot of people might not have the love for, you know, local wildlife that I do, but I painted it a 28 parrot, you know, commonly known as an Australian ring net, but a lot of Aussies call the 28 is a very common bird. You know, I literally see them every day, no matter where I am really in Perth, I will see them if not hear them. So I thought it was, you know, as common a bird as a magpie or a gorilla. But yeah, a guy came out of the chemists where I was painting and came up to me and he had a look at the mirror. And he's like, he's like, Oh, it's really cool, really colorful, really cool. But what is that? And he pointed at the 28. And I said, set it to 28. He said, What? A 28. I was like, Yeah, it's a parrot. You say you see them everywhere. He's I've never seen one of them before. And literally, as he said that there was one calling out in the tree behind the car park. And I pointed at it, and I showed him, and he nodded his head, he's like I hear
there it is.
I was like, I cannot believe you have not seen one of those birds before. Like, he obviously lived in the area, because he was just picking up a script look like, and we live, you know, the mural was very close to a bush land. So if anything, there would be a lot of those birds around. But yeah, it really showed that, you know, even the common birds, people, you know, don't really know about so I was like, Well, you know, I could be painting an African parrot on this wall, and no one would know any better. But if I'm able to start really focusing on what we've got around the area, hopefully it's going to spread the word around about what we have, because obviously, people don't even know what we have here.
Well, that's such an example of how art can like literally help people form new relationships with nature.
Yeah, yeah. Yeah. Because then that person will then go ahead and tell someone else what that bird is. So you know, and that's why I really, especially if I'm doing murals in public, I take my time in talking with the people and telling them what is on the mural, because they will go back and tell someone else. So that's what I enjoy about it. Because, you know, half the people I will tell what I've included in the murals have no idea what they were and now they do so. Yeah, for me, it's important. It's really important is as important as one.
Yeah, that's gonna get you on because that they are nature connection is just huge.
Yeah. And, you know, I think with the way we live these days, people are very visual, you know, everyone's on their phones, people aren't really reading books or anything like that. So if takes a amuro to get someone to cross a carpark and have a chat with me, you know, I might as well have a conversation with them and tell them what I'm doing. And look, we've got a bit of a fun question here. Now
we're gonna get mixed up a little bit. So plants and animals share a common ancestor some way back in time. And I was just wondering what are your thoughts on how plants and animals similar and how our plants and animals different
so before I really spent a lot of time bushwalking and taking photos, I never really considered the similarities and the need animals have for plants and the other way around. But you know, watching a lot of a lot of these these birds and things in particular, that they wouldn't be able to survive without a blossom, you know, blossom on trees opening up and allowing them to have their nectar and, and then a, you know, a lot of these insects that are attracted by a lot of the fruits on trees and seeds and, and flowers, and then the animals that then then ate those insects. So, in a way, you know, you can't have one without the other. So I think, you know, you can't get more connected to that than that. But I'm sorry, I don't know if I've answered your question a lot. But I think that
you were talking about how one moves and the other doesn't, I thought that was awesome. Yeah, yeah. So
you know, even though we don't really see plants moving as much, besides the wind pushing, pushing the branches, I guess, you know, all plants move in the direction of the sun to get the sun's energy, you know, flowers will close at night, and then open again in the morning, while a lot of them do to then get the sun's rays and stuff, you know, so they're, you know, they're eating as well, you know, they, you know, they're eating the sun, so animals can move to get what they want. And then plants also can move to get what they want. So you know, that it's really interesting, you know, I don't, I don't look into it too much. But you know, there, there's definitely a massive connection there. And, you know, it's only since following the seasons, and what's happening during the seasons. And, you know, what comes out at certain times of the year and stuff that I've kind of, you know, realize how important, especially the plants are that that bloom at certain times, because there's sometimes there's only a few birds that will, you'll see because they're, they're feeding on something in particular. So it all it all comes comes full circle. It's really cool.
Yeah, they're all in a web together. That's a theme in our in our podcast.
Yeah, yeah. Man, it's funny. It took it took sorry, it took it took, it took me sort of really focusing on this local flora and find a path to really, you know, understand, because before, then, you know, I was using a lot of images I found on Google and I wasn't, you know, it wasn't getting out there as much because it's, it's easy to just go on Google and find something you're looking for. But focusing on local foreign foreigner means there's no reason why I can't get out of the house, go for a drive, find a reserve, and find what I'm looking for, because I'm painting and painting the local stuff. So there's no reason why I can't get out there, find it, and photograph it. And then when I find what I'm trying to photograph, I can see what it's interacting with. And, you know, in turn, then those things that they're interacting with become part of the murals. So it Yeah, even that comes full circle. You know, without getting out there, I wouldn't, probably wouldn't be painting what I'm painting because I wouldn't know about it. I'd rely on what's on on Google, which isn't always right. So yeah, that's cute. Yeah.
Yeah, that's awesome. And I think as well, like just getting out there and actually connecting with the real thing, sort of, I mean, I'm not an artist, but it almost feels a little bit different to connecting with the, you know, with with those visual things through a screen.
Yeah, yeah, for sure. And, and, you know, since taking up this photography, I've then been able to, to make connections and friends with a lot of other photographers, birds, but also reptiles. Adam Bryce is an amazing photographer of snakes, and lizards, and frogs and things. And, you know, I managed to find some of his photos. And now, if I've got a mural that involves a local frog or a snake, he's happy for me to, you know, send him a message and ask for permission and, and I'm able to paint some of the best photography there is. So you know, even taking up photography has now led me on to this, to this new way of finding photos. So it's funny how it all works out, but it's really pushed me in the direction where it's really limitless. You know, if I need a certain pose, I can go out and find a bird and I can take 100 photos of it moving all over the place. And, you know, that in itself could be 100 different murals. So, yeah, it's really open the doors for me.
Yeah, that's awesome. A lot of people when they're talking about nature, and their love for nature cite David Attenborough as one of their biggest influences. I know for me, he's definitely been a huge influence on me. Can you tell us a little bit about how did he influenced your journey?
I guess, from a very young age, when I was really into birds, and breeding birds, I think around that time was when the life of birds came out a series that was on TV. I think that was one of the first things that I'd seen. And I think it was his calming voice with the images that really drew me in. You know, I'm a person that can get quite annoyed by by certain voices. You know, I enjoy listening to Australian podcasts, but sometimes if I'm listening to American ones, No offense, hopefully to anyone out there. But, you know, sometimes even little things can annoy me. So I think for some reason much, no, no, you're not at all. You're not at all, you know, I would never tell anyone that they were annoying me.
You just invalidated? What you just say.
Yeah, no, no atbara. Yeah, something about his voice was very calming, and it really fit with what he was talking about. And, you know, you can kind of warmer, shut your eyes and listen to what's going on. And that's enough, and then add the visuals into it. You know, when he's working with some of the best videographers in the world. There's really nothing like it, you can't really go to anything else. You can't really watch any other documentary, because there's something missing.
He's ruined. It hasn't. He's just too good. Yeah,
I can't watch any other documentaries, because it's not enough. You know, there's a team, the teams that he has, and even a lot of the recent things that he has put out there, the behind the scenes footage and stuff. That's, that's what I really enjoy saying, you know, I've got such a passion for what I do. It really rubs off when you see someone else that has obvious passion, and that's, you know, oozes out of him. So I guess I connect with people that have passion, and probably is a big thing as well.
Me 200%. So look, we're gonna come to we're coming to the close of the episode. Now, there's gonna be a lot of people out there who want to, they've heard your voice, they haven't seen your work. And maybe they're even interested in commissioning a piece of artwork, if they're in the area in Perth, in Western Australia. Yeah, can you tell us a little bit about where people can go to find your work and perhaps even commission you?
Sure. So I've got a website, it's www dot Brenton si.com.au. And there is a section on there that they can get in touch with me, I will be changing that in the not so distant future. So that makes it a little bit easier to understand and, and get straight to the point on on what they're after. But yeah, they can contact me on there. I think my phone number is also on there, so they can give me a call. Otherwise, I'm on all forms of social media, I'm on Facebook and Instagram. So you can send me a message on there. And I try and get back as quick as I can recently got a workplace up in the hills, which is really nice and picturesque, and in the bush where I want to be. So I'm there once a week to answer all my emails. So if I don't get back to you straightaway, trust me, it'll be within a week.
And we'll check some links in the show notes for any listeners who just want to check out the show notes, just click on up so you don't have to type it all in and you'll be brought straight to his web page and check it all that really, really stuff too. He's got some interesting stories there. danger.
Yeah, and I'll be updating my bio. But again, I'm going to leave my old bio on what I was going through at the time, because I think it's important to show that that history, but um, yeah, I'll be creating a new bio and have could have kind of go in depth of what I'm doing today. But yeah, I'm still gonna leave all that old information up there. Because Yeah, I think it's really important and quite relevant, obviously, to today's climate for people to read that sort of thing, because they can they can relate to it.
I think a lot of people can 100% Yeah. Yeah. Look, Britain. Thanks so much for coming on the show, mate. Um, no
worries at all.
We really appreciate it. And I just think everyone out there. I just hope you guys are all listening and just thinking like, is there a way that I can express my own love for nature? Or maybe even should I be getting out into nature more, so I actually end up feeling more inspired?
It's kind of a two way street there. Sure. And thanks. So
good for you. So it absolutely is. I mean, even just today I was down at because we're in lockdown. And just walking around, take your shoes off. Just put your feet in the grass underneath the tree, a cup of coffee and just put your phone down. Just close your eyes and just listen to the wind.
Exactly. Exactly. You know. And even if you can find a spot that's out of reception, that's even a bonus. Even better.
Thanks, Brenton, no,
I don't see IRA tears on this.
But I'm interested to know how you connect with nature. Is there a particular artist that you really enjoy? Or do you even create your own art? Maybe it's enough for you just to be in nature, and you don't need to express it through our let me know on twitter at plans grow here, or on our Facebook group. There are a few links in the show notes that I definitely recommend you check out including our social media pages, as well as a couple of interesting ones, including a link to an article that I wrote about some of the different relationships that plants have with other organisms.

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